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Find classical music concert, opera, ballet and dance reviews | BAM: Harvey Theater

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Reggie Wilson’s Citizen at BAM’s Harvey Theater

By Andrew Blackmore-Dobbyn, 14 December 2016
Citizen is about many things and, while race is certainly central, there is also the question of what it means to belong, not to belong and to not even want to belong.
***11
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New York City

A Spectacle, a Smorgasbord, a Show: John Jaspere's Remains at BAM

By Rachel Rizzuto, 21 September 2016
John Jasperse once more proves himself the master of form, function and, in this case, danceable art history.
****1
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New York City

Hagoromo: a Tale of Heaven and Humanity

By Andrew Blackmore-Dobbyn, 07 November 2015
Wendy Whelan is proving that there’s plenty of life for older dancers if there are new works that can make use of their special abilities and lifetime of experience.
***11
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New York City

William Kentridge’s miscellany hour: Refuse the Hour at BAM

By Rebecca Lentjes, 24 October 2015
William Kentridge’s chamber opera Refuse the Hour emerged amid a hurricane of clashing out-of-sync metronomes, frenetic choreography, African drumming, brass glissandi, and sound-making contraptions. 
***11
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New York City

A delightful hodge-podge: Big Dance Theater’s Alan Smithee at the Brooklyn Academy of Music

By Ivan Talijancic, 30 September 2014
Alan Smithee Directed This Play at the Brooklyn Academy of Music is another quirky, and inventive piece , by Big Dance Theater.
***11
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New York City

Upshaw and Kalish Perform Crumb's Transcendent Ancient Voices of Children at BAM

By Richard Peters, 11 September 2014
New Yorkers flocked to BAM on Thursday to celebrate the beginning of the Next Wave Festival 2014. Even more discerning audiences were just around the corner at BAM’s Harvey Theater for a program that featured soprano Dawn Upshaw and pianist Gilbert Kalish.
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New York City

Contemporary art song at BAM: 21c Liederabend

By Kay Kempin, 22 November 2013
Part of the Next Wave Festival, 21c Liderabend achieved a delicate balance that, more times than not, New York’s larger performing arts venues fail to accomplish: an intimate experience in an extravagant, larger-scale setting.
***11
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New York City

The end is nigh, but brightly so: Ballet Preljocaj at the Brooklyn Academy of Music

By Ivan Talijancic, 07 November 2013
When brainstorming ideas for his 2010 production of And then, one thousand years of peace, a co-production with Moscow’s revered Bolshoi Theatre, the French-Albanian choreographer Angelin Preljocaj stumbled upon reading the Apocalypse of St John.
****1
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New York City

David Dorfman's Come, and Back Again a personal, compelling confession, if a bit cloying

By Rachel Rizzuto, 16 October 2013
David Dorfman’s Come, and Back Again is an earnest – occasionally too earnest – and authentic exploration of Mr Dorfman’s own fears of mortality and mess. Mr Dorfman presents a well-integrated whole, with a whitewashed junkyard set; video projection monologues; a live, onstage band; and a dance space that seemed to encourage straight-from-the-heart confessions and freewheeling movement.
****1
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New York City

Sō Percussion and guests bring a vibrant and multivalent performance to BAM

By Joseph Pfender, 22 December 2012
Sō Percussion finished their four-day run of Where (we) Live on Saturday 22 December. A resplendent and confusing bonanza, the hour-long concert consisted of poignantly thin and simple melodies, intensely personal testimonial, performative carpentry, and absurdist and stop-motion film, all piled together with a demeanor of contemporary improvisation and glam rock dressed in flannel.
****1
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New York City

A timeless telling of an ancient tale: David Lang and Anonymous 4 present love fail at BAM

By Rebecca Lentjes, 08 December 2012

David Lang’s love fail, an incredible interpretation of the timeless Tristan and Isolde tale, graced the ears of all those present last night at the recently-renovated BAM Harvey Theater (remember those agonizing seats? Yikes!). Mr Lang’s non-narrative non-opera, composed for the all-female a cappella quartet Anonymous 4, miraculously limns nearly 1,000 years of tortured human relationships – with a minimum of means.

****1
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